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Archives for April 2014

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Paul Tudor Jones, founder of The Robin Hood Foundation, on the power of a great name

In September, 2013, 60 Minutes aired a story, Modern-Day Robin Hood, about the billionaire Paul Tudor Jones. Tudor Jones’ charity, the Robin Hood Foundation, “fights poverty with the hard-nosed, business sense of Wall Street.”

At one point in the interview, Tudor Jones had this to say about the power of having a great brand name:

If you said to me what part of our success is due to our name, I’d say it’s a big part of it ’cause it’s a great name, right? It says everything.

It does indeed “say everything,” but not in the usual, descriptive way. Instead, the name tells a great story, tapping into the Robin Hood mythos of “robbing from the rich to give to the poor,” updated for the 21st century. The way The Robin Hood Foundation pulls off this feat is very smart, and well-told in the 60 Minutes piece.

It is refreshing to hear a successful business leader, let alone a billionaire, acknowledge that success in business is not merely the result of a great product, vision, or  founder’s genius. That having the right name can make all the difference in the world between achieving average results or phenomenal success.

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Such desiderata of desiderata. Many antiquary. So curiosa. Wow.

Francis Peck - Desiderata Curiosa
Desiderata Curiosa: Or, A Collection of Divers Scarce and Curious Pieces Relating Chiefly to Matters of English History. By Francis Peck, M.A., 1779. Thomas Evans, London

Or, what do an 18th Century English antiquarian, an early 20th Century Indiana lawyer, Adlai Stevenson, Commander Spock and an obscure 1970s singer have in common?

Apologies for invoking the faddish Doge meme in the title of this piece, but it seemed oddly and counter-intuitively appropriate for a discussion of desiderata, a strange English word from from the Latin desideratum (plural desiderata), meaning: something that is wished for, or considered desirable. According to the OED, the first appearance of the word “desiderata” in the English language was in 1651 in the religious treatise Act of Oblivion, by English theologian Nathanael Culverwell. Culverwell employs a “book of life” metaphor for good Christians achieving the perfection of divine grace (emphasis mine):

Whereas a Christian’s life shall be set out in a new edition; for all errata shall be corrected. Every iniquity shall be blotted out, and all desiderata shall be supplied; the book shall become perfect, and be looked on as a fair object to all eternity

This is basically the same sentiment that returns nearly three hundred years later in the song “When You Wish upon a Star,” written by Leigh Harline and Ned Washington for Walt Disney’s 1940 adaptation of Pinocchio:

When you wish upon a star
Makes no difference who you are
Anything your heart desires
Will come to you

But let’s back up a bit. Francis Peck (1692–1743) was an English antiquary who published the book pictured above, Desiderata Curiosa, in 1779. An “antiquary” is itself a nice piece of antiquarian language, defined by Wikipedia like this: [Read more…] about Such desiderata of desiderata. Many antiquary. So curiosa. Wow.

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The cutaway: The bisected sets of Anderson, Godard, Lewis, Berkeley, Keaton and Parrott

In a recent issue of The New Yorker, a Goings On listing written by Richard Brody noted that the Museum of the Moving Image was screening the Jerry Lewis film, The Ladies Man. In the movie, Lewis plays Herbert H. Heebert, “a high-strung and wounded young man who seeks a secular sanctuary from sex and ends up in Hollywood, as a handyman in a women’s boarding house.” Brody goes on to write, “The house where Herbert lives and works is one of the greatest and most influential sets of all time,” which got me thinking about where else have I seen this “colossal dollhouse-like cutaway” approach before and, for that matter, since.

A recent example of an epic “dollhouse effect” is Wes Anderson’s set piece for The Life Aquatic with Steve Zissou, which featured a fantastic cutaway/bisected research vessel dubbed the Belafonte. The Belafonte, complete with mini-sub and helicopter, is of course a loving homage to oceanographer Jacques Cousteau’s vessel, the Calypso. And yes, Harry Belafonte played calypso music on an album called Calypso. Seu Jorge, on the other hand, is a Brazilian Samba musician and the Belafonte’s resident recording artist who performs haunting David Bowie covers at intervals throughout the film. But I digress. The point is, after doing a little research on the making of the Belafonte set I stumbled upon Anthony Balducci’s blog, which itemizes a half-dozen examples of this visual trope, which apparently has been around for at leat 95 years.

Here are some examples, traveling back in time from the present:

The Life Aquatic with Steve Zissou (Wes Anderson, 2004)
The Life Aquatic with Steve Zissou (Wes Anderson, 2004)
Tout Va Bien (Jean-Pierre Gorin, Jean-Luc Godard; 1972)
Tout Va Bien (Jean-Pierre Gorin, Jean-Luc Godard; 1972)
The Ladies Man (Jerry Lewis, 1961)
The Ladies Man (Jerry Lewis, 1961)

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